Read I the Supremeby Augusto Roa Bastos H. Lane Online

Latin America has seen, time and again, the rise of dictators, Supreme Leaders possessed of the dream of absolute power, who sought to impose their mad visions of Perfect Order on their own peoples. Latin American writers, in turn, have responded with fictional portraits of such figures, and no novel of this genre is as universally esteemed as Augusto Roa Bastos's I the SuLatin America has seen, time and again, the rise of dictators, Supreme Leaders possessed of the dream of absolute power, who sought to impose their mad visions of Perfect Order on their own peoples. Latin American writers, in turn, have responded with fictional portraits of such figures, and no novel of this genre is as universally esteemed as Augusto Roa Bastos's I the Supreme, a book that draws on and reimagines the career of the man who was "elected" Supreme Dictator for Life in Paraguay in 1814.By turns grotesque, comic, and strangely moving, I the Supreme is a profound meditation on the uses and abuses of power—over men, over events, over language itself....

Title

:

I the Supreme

Author

:

Augusto Roa Bastos H. Lane

Rating

:

ISBN

:

0571148697

Format Type

:

Paperback

Number of Pages

:

448 Pages

Status

:

Available For Download

Last checked

:

21 Minutes ago!

I the Supreme Reviews

Edward2019-01-27 01:34

--I the SupremeGuaraní Words Used in the Novel

Nathan "N.R." Gaddis2019-02-16 01:28

Have you ever, browsing at a village bookshop, picked up a book and thumbing through it discover things like variations between single and double columns and footnotes and little chapter-ish headings like "(In the private notebook)" and "(On a loose sheaf)" and "(Perpetual circular)" and "(Compiler's note)" and but you can't remember quite if you've heard of the book before and if so on what list it had appeared but then you decide to not take it home only to learn shortly thereafter that you have committed a grave literary sin? Because not only did this particular village bookshop deserve every dollar I can afford to spend with it and not only does Dalkey also have an edition of this very book (which spine in time would've aided me in avoiding this particular sin) but Yo, el Supremo, translated by Helen Lane (all hail!!!), finds its home on both the Rabelasian Codpiece and among the Shandian Spawn. Deservedly because it is a rollicking word-drunk, writing-centric, multivalent and poly-vocal (overcomes that first=person pov curse), dense (yes, a slog at times with some of the political stuff but whatchya gunna do?) bit of S.American-o dictator fiction. Here's the genre breakdown for you genre junkies (I'm just learnin' so I'm borrowin' from wikipedia (thanks Geoff))* ::"....a genre of Latin American literature that challenges the role of the dictator in Latin American society". "Challenges"? *shrugs*. So far though I would insist that we do limit the genre to its geographical constraints. At least until, well, something else. "Moreover, a dictator novel often is an allegory for the role of the writer in a Latin American society" ; just like all novels, at least the 'allegory' part is in potentia in most good novels. "Although mostly associated with the Latin American Boom of the 1960s and 1970s, the dictator-novel genre has its roots in the nineteenth-century novel Facundo: Or, Civilization and Barbarism (1845), by Domingo Faustino Sarmiento." Cool. Let's start a list ::I, The SupremeThe Feast of the Goat** by LLosaReasons of State by Alejo Carpentier"The genre of the dictator novel has been very influential in the development of a Latin American literary tradition, because many of the novelists rejected traditional, linear story-telling techniques, and developed narrative styles that blurred the distinctions between reader, narrator, plot, characters, and story."Literary critic Roberto González Echevarría argues that the dictator novel is “the most clearly indigenous thematic tradition in Latin American literature”, and traces the development of this theme from “as far back as Bernal Díaz del Castillo’s and Francisco López de Gómara’s accounts of Cortés’s conquest of Mexico.”Miguel Ángel Asturias's*** El Señor Presidente (written in 1933, but not published until 1946) is, in the opinion of critic Gerald Martin, "the first real dictator novel".The Autumn of the PatriarchKeefe Ugalde points to the realisation on the part of many authors that "the tyrant's power is derived from and defeated by language."Conversation in the CathedralDenzil Romero's La tragedia del GeneralísimoSergio Ramírez's Te Dio Miedo La Sangre? ("dictator novel without the dictator")"...use of interior monologues, radically stream-of-consciousness narrative, fragmentation, varying narrative points of view, neologisms, innovative narrative strategies, and frequent lack of causality.""...creating a link between power and writing through the force wielded by their pen.""...the interdependence of the Latin American tyrant and United States imperialism.""Masculinity is an enduring motif in the dictator novel. There is a connection between the pen and the penis in Latin American fiction,...."José Marmol's Amalia ("precursor")Ramón del Valle-Inclán's Tyrant Banderas ("a key influence")Jorge Zalamea, El gran Burundún-Burundá ha muerto Enrique Lafourcade's La Fiesta del Rey AcabLuisa Valenzuela's The Lizard's TailTomás Eloy Martínez's The Peron NovelThe General in His LabyrinthThe “not quite dictator novels” :: A Manual for Manuel ; In the Time of the Butterflies ; Empire of Dreams (third part thereof) and her United States of Banana ; Distant Star ; ...employed techniques of the “new novel”, by which the writer rejected the formal structure of conventional literary realism, arguing that “its simplistic assumption that reality is easily observable” is a narrative flaw."As a genre, the dictator novel redefined the literary concept of 'the novel' in order to compel the readers to examine the ways in which political and social mores affect their daily lives."Therefore, the regional politics and the social issues of the stories yielded to universal human concerns, thus the traditional novel’s “ordered world view gives way to a fragmented, distorted or fantastic narrative” in which the reader has an intellectually active role in grasping the thematic gist of the story."...redefined the formal literary categories of author, narrator, character, plot, story, and reader..."...the etymological link between “author” and “authority”..."....wherein the figure of the novelist (the author) became very important to the telling of the tale."In the dictator novels, the writers questioned the traditional story-teller role of the novelist as the “privileged, paternal figure, as the authoritative ‘father’, or divine creator, in whom meaning would be seen to originate”, and so, the novelists fulfilled the role of the dictator.And in this election season I'm going to add to our dictator reading syllabus the following two N.American-o novels :: The Tunnel and The Public Burning. Probably a couple of others. * https://en.wikipedia.org/wiki/Dictato...** Literally had houseguests recently and they asked, Have you ever heard of this novel The Feast of the Goat? I'm reading it right now. And I'm all like, !!!, Check out the dictator novel I'm cr-ing! (yes, literate folks exist in rl too!)*** Nobel Prize guy.

How to get inside the mind of a dictator:"Do you know what distinguishes daytime handwriting from nighttime? In a nocturnal hand there is obstinacy with indulgence. The proximity of sleep files the angles smooth. The spirals sprawl out more. The resistance from left to right, weaker. Delirium, intimate friend of the nocturnal hand. The curves sway less. The sperm of the ink dries more slowly. The movements are divergent. The strokes droop more. They tend to distend...""Those with prodigious memories are almost always mentally retarded imbeciles." I think I have a pretty good memory for some things (conversation, song lyrics), but "The man with a good memory remembers nothing because he forgets nothing."So far: I have learned that I actually have a very BAD memory, because I choose what to remember and forget a lot of things. (I think this may be true.)Also: Augusto Roa Bastos is really cool.Also: Dictators are crazy.

Stephen2019-02-10 01:25

I'm reading this Paraguayan historical novel a second time and enjoying (and understanding) it much more, though it's still incredibly dense and mind-boggling. Helen Lane, the translator, should have won some sort of award for faithfully capturing the spirit of the Perpetual Dictator's rambling, insulting, witty, and pretentious wordplay and neologisms.

Giovanna2019-02-20 03:29

I'm paraguayan. I'm happy that someone from my country is at least slightly famous (we have pretty low standards). That been said, I hate this book. I don't know about the english version but in spanish it is without a doubt the most boring book I've ever had the misfortune of pickung up. And I tried to finish it several times but I couldn't get past the first chapter. I'm sorry Augusto.

Out of all the "Dictator Novels" I've read, this is by far the best. The Supreme is such a complex character, and I guess you have to be really invested in latin-american history and political divisions to understand the depths of this book.The Supreme never seems a caricature, or an evil blood thirsty maniac (two common character types for this genre); he comes off as a simplistic, nationalistic, and authoritarian ruler who is convinced he's the best option for his country - and, in contrast to the other kinds of Dictators, he acts accordingly. Diving inside his thought process is riveting and sometimes even fun to the point that he starts to become alive, and human. For moments, I even cheered for him.The book is long, and exhausting, though, so be warned - it's a long monologue that often makes no sense until you familiarize yourself with the guy. Once it gets its groove going, you won't be able to stop, though.

magisterial. paragraphs triggered by sovereign decrees expand into manias splintering riotously off into the sounding nights of the rio. uninvited voices set the chambers of the supreme head echoing, awakening it into a world of petty libel and insidious comment. walking the insomniac galleries of his palace he pours surplus speech into the gaping spaces for patino, his palimpsest machine, to gather it in print. in the ensuing text we hear the increasing stampede of his mumblings, hallucinations, self-citations, vain amendments, evasions, delusive iterations, and sense-rending aggressions as they form into a roaring self-sustaining loop that collapses only with the eventual waning of his sanity. the narrative cracks. he knows not who he is. he orders the dogs of the city to be shot. the most compelling fictional study ive ever come across of language as a self-referring system co-levelled with the world. a text to be read till madness sets in. reader go gently into that good night

I, The Supreme by Augusto Roa Bastos is a complex, technically accomplished, creative and stylistically unique book, a classic example of the dictator novel genre that explores the nature of authoritarianism and tyranny; the mindset and self-justifications of authoritarian leaders, the way they convince themselves that they are ultimately righteous and acting in the best interests of the people and the nation; the way dictatorial power inherently distorts the perspective of a leader by allowing them to live without confronting the way reality does not line up with their vision and agenda; the divide between the role of the leader and the person who occupies it even as they embody it; historical narratives and the ways they are used as weapons by their writers to claim power and how untrustworthy they can be, a theme Roa Bastos explores through the use of multiple texts within the text; the created and imagined nature of power and the importance of the use of language to either reinforce or destroy it; the fragility of power because of its created and imagined nature and how that drives authoritarian leaders to seek absolute power, including over history itself; the evils and brutality that leaders who see themselves as inseparable from a people and a nation can bring down on them while insisting they are acting in their name, and the history of Paraguay and the decolonization era in South America.All that being said, I will probably remember I, The Supreme best for being the book that finally revealed to me that I do not actually enjoy reading magical realism. This is a hard read, dense and deliberately unfocused and growing moreso as it goes on, playing games with time and reality and language (both in the sense of use of words and even which language it uses with Roa Bastos frequently communicating in Guarani), told largely through unreliable narrators, primarily the dictator Jose Gaspar Rodriguez de Francia who is increasingly losing control of his mind as he approaches his death. It’s deeply invested in its own symbolism and dismissive of typical expectations of narrative. At times, I frankly found it incomprehensible. Perhaps it requires a better and more committed reader than me, but I found it a lot more engaging when Roa Bastos stuck to the real or near-real than I did when he veered into the supernatural or too deeply dove into stylistic experiments. It may be personal – I picked up this novel for insight into politics rather than a stumble through corners of the dark underground prisons of El Supremo’s mind or literary invention.That being said, beyond the opportunity for a politically engaged writer to express his frustrations with his native country and its consistent crushing under the heels of dictators and disasters, one can see why Roa Bastos found Dr. Francia worth writing about. His combination of apparently semi-sincere nationalist populism and devotion to the Paraguayan national project and the creation of a truly independent and decolonized country with his hunger for control, his megalomania, his paranoia, his micromanaging, his pettiness, his viciousness against enemies and anyone who rose high enough in his esteem to fail him and his mix of adoration and contempt for his people is deeply intriguing. It recalls simultaneously global experiences with tyranny in general; the specific sins and psychology of men like Stalin and Peron (and one could not help but be reminded at times of the rhetoric of Donald Trump, much as I prefer not to think about it); and no one at all but Karai Guazu himself. While the use of alternate texts within the text to question its own narratives and conclusions and more broadly to comment on history and historiography is perhaps the most memorable element of I, The Supreme, even more interesting to me than the dueling portrayals of history were El Supremo’s insistence on fighting that duel. He is deliberately, openly and specifically in conversation with both present and future critiques of him and his regime throughout I, The Supreme, and Roa Bastos makes it very clear why. Dr. Francia’s power is, at its heart, fundamentally insecure. It can be undercut by historians, subverted by enemies foreign and domestic, claimed by someone else (and repeatedly it is, by imposters of varying degrees of daring), and destroyed with the simple words whose impact he sneeringly dismisses. At the heart of it is that political power is no more real in its way than the talking ghost of the Robertsons’ dog or the voice from the skull he finds as a boy. It is something that only exists when the players involved agree it exists, and no matter how many of his political rivals he consigns to lightless dungeons or to isolated prison camps that apparently turn them into monsters or stone he cannot guarantee that the nation will not change its perception about his power – it cannot be absolute. This obsesses and drives him in a way I found very real and very relevant, making him determined to make his own truth. (It brought to mind the thought for me that the most effective, or perhaps only successful, dictators are the ones who manage to shape the historical narrative as it is seen by the people as an ideological tool for themselves, those who understand its value – and El Supremo seems to be one of them, no matter how much he insists otherwise.)In retrospect, I was less focused on something I perhaps should have been: the question of the failure of Gaspar de Francia’s revolution and whether or not he himself caused its failure with his own mistakes and his inability to truly love the people. This is particularly interesting in light of how much of this book discusses his rationalizations of his violence and his dictatorship (such as his belief that Paraguay is both great and weak, in need of protection from powerful foreigners; that it is the home of a truly revolutionary state that is simply still too immature for democracy; that he is the One Indispensable Man who can guide the Paraguayans, and his entirely accurate conclusion that European economic domination could reduce them to essentially vassal status) in a way that both calls attention to those of this rationalizations that are shared by other dictators and dictator wannabes, and that establishes him as the best-written kind of villain, the one where you can truly understand why they might think of themselves in their hearts as a hero.Roa Bastos was from my side research very much engaging in a critique of Alfredo Stroessner, the dictator of Paraguay who dominated the country through much of his lifetime, highlighting and attacking the cruel tactics and human rights violations that Gaspar de Francia and he shared and presumably some of their defenses of those tactics – and I suspect in subtle ways through some of the areas in which Gaspar de Francia seems reasonable, too. As Galeano argues, the isolationism pursued by Gaspar de Francia and the later Francisco Solano Lopez, while often portrayed negatively in histories written outside of Paraguay can also be seen as a courageous act against the essential re-colonization of a Latin American country by foreign capital, and there are certainly times when Roa Bastos seems more sympathetic to Gaspar de Francia in his exploration of this area of policy. This was, to my belief, not a direction shared by Stroessner. He also has El Supremo repeatedly point out that his rise to power was in fact confirmed by something that for that era could quite legitimately be considered the consent of the governed in a way that few other leaders were – again a sharp contrast with Stroessner, who came to power in a military coup.My knowledge of Paraguayan history, although I like to think pretty decent for a child of the United States, was in general a big drawback in this book. Whatever our tendency to lump Latin American writers together, this is a thoroughly Paraguayan work rather than one that primarily aims to speak for the region or universally, a book steeped in that country’s national narratives, myths, debates and past. I did enough Googling while reading to get the sense that there was a lot going on both at and under the surface that would be immediately clear (or clearer) and pointed to a Paraguayan reader, or at least a reader more familiar with the subject matter, that was completely going beyond me. Considering the obstacles this book poses stylistically already, I would advise anyone who wants to take it on to make it easier on themselves by doing more background reading on Paraguay than I did in advance.

In Paraguay there are two historical figures that arouse the most heated discussions: Francisco Solano Lopez, President of Paraguay during the Paraguayan War (1864 - 1870), the deadliest and bloodiest war in Latin America’s history; the other figure is Dr. José Gaspar Rodríguez de Francia, ideologist and political leader of the Independence Revolution (1811) that freed Paraguay from the yoke of United Provinces of the Río de la Plata, the Empire of Brazil and the Spanish crown and became the “Supreme and Perpetual Dictator” in Paraguay, where he ruled with iron fist for twenty-six years. I the Supreme is a novel written by Paraguayan author, Augusto Roa Bastos (winner of the Cervantes Prize) that delves into the public and private life and personality of the Dictator Francia and explore his inner thoughts and his deepest and unknown side. He is, without a doubt, the most controversial and fascinating figure of our history; someone who causes the most contradictory feelings and beliefs, even today.If you ask anyone here in Paraguay: “who has been the most relevant writer in your country?” The answer you’ll receive, immediately and unanimously, will be Augusto Roa Bastos; even if some of them have never read him in their entire lives, they will answer, sure of themselves: Roa Bastos. He is not only the most significant representative of Paraguayan Literature or wasn’t just the best-known ambassador of our intellectual class; he turned into a cultural symbol, lodged in our collective unconscious and became the name of literature par excellence between Paraguayans. His face appears on the covers of books of our cultural history, his books can be find in any bookstore throughout the country and are compulsory reading in schools. His name is invoked in contests, foundations and prizes of literature and cinema and it is used to name streets and plazas. His aphorisms appear on posters and spray painted walls. And I the Supreme is the novel that everyone has supposedly read here in Paraguay, as the Quixote, the Divine Comedy, Pride and Prejudice or the Odyssey. Even if it is one of the most complex and rich novels that has been ever written in South America.Roa Bastos always fought against all forms of authoritarianism and dictatorship and in a country that allowed itself to be seduced by despotism for a long time, exile was the only solution for him, as it was for many other Latin American writers of his generation. He was forced to live and work in Argentina and then in France as a screenwriter and teacher and most of his work was written abroad; but the history, culture and social issues of Paraguay always occupied the center of his literary universe. Roa Bastos absorbed myths, customs, symbols and idiosyncrasies of his country and turned them into baroque short-stories and novels with elements of magical realism and costumbrism with an undeniable spirit of denunciation. I the Supreme is consider his masterpiece, in which the author exhibits all his prodigious mastery of language, literary techniques and penetrates into an entire era through the complex personality of Dr. Francia.Dr. Gaspar Rodriguez de Francia was the most enlightened man in Paraguay. He advocated the ideals that came from the French Revolution, was a keen reader of great thinkers such as Voltaire, Rousseau and the French Encyclopedists. He had the largest library in all Asuncion and was able to speak five languages; Spanish, Guaraní, English, French and Latin. When he started on the country’s political scene he was considered a radical because he supported the peasantry and the lower classes to the detriment of the Spanish, criollos and the elite class. He became the indisputable leader of the Independence because of his extraordinary education (he was the only man in the whole country with a doctorate alongside Juan Bogarín), his leadership skills and his passion for politics. He understood, before the paradigmatic moment that the country was facing, that the dictatorship was the only possible form of government (resorting to an old Roman tradition when they were threatened by foreign forces). His government was marked by his absolute power all over the country and his fierce repression against the opposition, most of them criollos and Spaniards who saw their privileges affected by the reforms of the Supreme. He also was an implacable enemy of the Church -according to official documents he “abolished the Inquisition, suppressed the college of theology, did away with the tithes, and inflicted endless indignities on the priests” (which I find really cool)-, he made primary school free and compulsory and imposed a ruthless isolation upon Paraguay, forbidding all external trade, while at the same time he encouraged national industries. Dr. Francia had earned a reputation as a terrible and brilliant leader and was called Karaí-Guazú (Great Lord in Guarani) among his people.Augusto undertook a challenging task that only writers deeply committed to the history of their countries in addition to an absolute literary genius can take; like Garcia Marquez, Vargas Llosa, Carpentier and Asturias, who also wrote novels labeled like “Dictator novel”. Dr. Francia never wrote a book of memoirs and everything that is known about him has come to us through letters and official documents and Roa Bastos did a remarkable job by capturing the distinctive features of his way of thinking and writing, without forgetting the historical events that surrounded him and even allowing himself to go further; imagining his private notes, predicting the future, dialoguing with Latin America’s history, implicitly criticizing the Stroessner dictatorship and including supernatural elements. It’s a novel hard to summarize, in which texts such as the dialogue between the Supreme and his secretary, Policarpo Patiño, the government’s projects in the “Circular Perpetua” and his private notebook (mostly an account of his own life and his most intimate and philosophical thoughts) are intermingled. Dr. Francia embodies the prototype that knowledge means power and the novel constantly gives the impression that he seeks to give meaning to history and his reality through an uncontrollable verbiage and explosions of lucidity. This is so because the central theme in the novel is the deep interrelation between language and power. “I don’t write history. I make it. I can remake it as I please, adjusting, stressing, enriching its meaning and truth” or “To write does not mean to convert the real into words but to make the power of the word real.”

When I heard about this book I promised to read it. The comments I recieved were all along the lines of "the last strongman novel from a LatAm Boom author". Having read The President, The Death of Artemio Cruz, The Feast of the Goat among others, I expected a great book. However, I found that Roa Bastos took a little too much from Artemio Cruz for Rodríguez de Francia, with never-ending monologues that go nowhere for the first part of the novel. The second half is much more interesting, though; it offers a great insight in the post-colonial Platinean Basin; the parts about relationship of Francia with Belgrano, Artigas, Bonpland and the Brazilian Empire are just amazing. A good book, perhaps too long.

Val2019-02-21 01:24

The book is a first person account of dictator for life de Francia, the first in a long line of dictators in Paraguay. It shows his cynical manipulation of power and language, so questions the idea of dictatorial authority in general.The dictator is self-justifying, a little paranoid and becomes increasingly deranged as the narrative progresses, but because it is mainly his telling of the story this is not obviously a polemic. The structure becomes more fragmentary and less rational as a mirror of the dictator's thought processes.

Anand2019-02-20 05:31

A difficult but rich read. Roa Bastos' ambivalent assessment of El Supremo, and the multiple voice construct of a dictator nuances brilliantly. A dictator - spartan (unlike other South American dicators) - and with vision - but perhaps brutal in execution. Requires more than a read to truly understand the richly nuanced, and translated work

Humberto2019-02-15 00:33

denso... libro difícil... leánlo

Leonard Pierce2019-02-20 21:25

A stunning piece of Latin American postmodernism, the kaleidoscopic story of Paraguay's first unquestioned dictator.

Books Related with I the Supreme by Augusto Roa Bastos H. Lane

About the author

Augusto Roa Bastos H. Lane - Augusto Roa Bastos was a noted Paraguayan novelist and short story writer, and one of the most important Latin American writers of the 20th century. As a teenager he fought in the Chaco War between Paraguay and Bolivia, and he later worked as a journalist, screenwriter and professor. He is best known for his complex novel Yo el Supremo (I, the Supreme) and for his reception of the Premio Miguel de Cervantes in 1989, Spanish literature's most prestigious prize. Yo el Supremo is one of the foremost Latin American novels to tackle the topic of the dictator. It explores the dictations and inner thoughts of Dr. José Gaspar Rodríguez de Francia, who ruled Paraguay with an iron fist and no little eccentricity from 1814 until his death in 1840.Roa Bastos' life and writing were marked by experience with dictatorial military regimes. In 1947 he was forced into exile in Argentina, and in 1976 he fled Buenos Aires for France in similar political circumstances. Most of Roa Bastos' work was written in exile, but this did not deter him from fiercely tackling Paraguayan social and historical issues in his work. Writing in a Spanish that was at times heavily augmented by Guaraní words (the major Paraguayan indigenous language), Roa Bastos incorporated Paraguayan myths and symbols into a Baroque style known as magic realism. He is considered a late-comer to the Latin American Boom literary movement. Roa Bastos' personal canon includes the novels Hijo de hombre (1960; Son of Man) and El fiscal (1993; The Prosecutor), as well as numerous other novels, short stories, poems, and screenplays.Roa Bastos was an exponent of the Neobaroque style that brought Latin American literature to the fore internationally in the mid-20th century. Among others, the Chilean poet Pablo Neruda is also associated with this school of writing. The style uses a complex system of metaphors that are often very closely tied to the land, flora and culture of the particular writer, especially in the case of Roa Bastos. Magic realism is a Neobaroque concept that applies such systems of metaphor to otherwise realistic settings (Yo, el Supremo being a notable example of the form). The Neobaroque style was used by many Paraguayan writers in exile after 1947 and until the 1980s. At the core of much of the work from this group are ideas of political freedom and the emancipation of their homeland.[33]Roa Bastos started out writing poetry in the Spanish Renaissance and Baroque traditions. Later he took on "a new sensibility" in response to the poetry of Valle-Inclán, Juan Ramón Jiménez, and García Lorca. However, it is as a prose-fiction writer Roa Bastos has built his considerable reputation, through his novels and numerous short stories. Roa Bastos' novels blend the present and past by creating scenes with myths from pre-colonial times and Christian legends, developing a special kind of Magic Realism, although there are significant stylistic variations between his major novels.

Free eBooks Ssforestflowers.siw.com.co Library is in no way intended to support illegal activity. We uses Search API to find the overview of books over the internet, but we don't host any files. All document files are the property of their respective owners, please respect the publisher and the author for their copyrighted creations. If you find documents that should not be here please report them. Read our DMCA Policies and Disclaimer for more details.